A DINNER  IN  OLD  EGYPT 


795 

M535d 


A SPECTACULAR  TABLEAU  OF  ANCIENT 
EGYPT. 


By  L.  a.  Higgins. 


CHICAGO: 

T.  s.  denisUn,  publisher, 

163  RANi)OLPH  STREET. 


Return  this  book  on  or  before  the 
Latest  Date  stamped  below. 


University  of  Illinois  Library 

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3dJ 

MAY  3 0 

993 

JUM  0 1 

1933 

APR  22 

198b 

L161— H41 

Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/dinnerinoldegyptOOhigg 


A DINNER  IN  OLD  EGYPT 


A SPECTACULAR  TABLEAU  OF  ANCIENT 
EGYPT. 


By  L.  a.  Higgins. 


ife. 


CHICAGO  : 

T.  S.  DENISON,  PUBLISHER, 

163  RANDOLPH  STREET, 


PERSONAGES. 


Egyptian  Noble  and  Wife. 

Guests.  Slaves. 

Musicians.  Singing  Girl,  Etc. 


It  was  not  possible  in  the  brief  pages  of  this  little 
book  to  give  illustrations  adequate  to  the  subject.  Those  | 
given  serve  only  as  hints  of  what  may  be  done,  and  as  ; 
guides  to  the  stiff,  profile  character  of  Egyptian  art.  | 

This  “Dinner”  has  successfully  passed  the  ordeal  of  | 
actual  representation. 


COPYRIGHI'  1891,  BY  T.  S.  DENISON. 


7?3 

i-j' b d 


A DINNER  IN  OLD  EGYPT, 


There  is  no  fete-day  in  Egypt  so  popular  as  that  of  the 
“Rising  of  the  Nile.”  From  the  Khedive  on  board  his 
' yellow  silk-canopied  yacht,  showering  gold  pieces  on  the 
r multitude,  down  to  the  red-bronze  urchins  who  dive  with 
joyous  abandon  into  the  mud  for  the  precious  coins,  it  is  a 
time  pre-eminent  for  merry-making.  It  is  a time  of  thanks- 
giving and  fireworks;  display  of  banners  and  feasting. 


For  a “ good  Nile”  means  abundant  harvest.  'The  custom 
^ is  as  old  as  the  Pyramids — as  old  as  Isis  and  Osiris.  It 
was  observed  before  the  Grecian  Cleopatra  ever  disturbed 
the  peace  of  “Old  Egypt  and  Young  Rome.”  The  festival 
of  the  Nile  was  celebrated  before  that  sage  and  garrulous 
old  chronicler  Herodotus  penetrated  the  “Mysteries”  or 
(/i  declared  on  the  word  of  a savant  he  could  not  bring  himself 

ft) 

i to  believe  the  Nile  encompassed  the  world!  It  was  when 
^ I the  sacred  Ibis  hovered  over  the  land,  and  the  great  gods 
^ Pasht  and  Pthah  ruled  in  amicable  union.  Then  as  now  gay 


4 


A DINNER  IN  OLD  EGYPT. 


crafts  covered  the  water,  decked  in  fluttering  banners  and 
flowers.  A joyous  throng  on  the  banks  danced  to  the  music 
of  the  lute,  the  sistrum  and  the  double  pipes.  But  that 
which  now  has  become  an  almost  meaningless  revelry,  was 
then  alive  with  sacred  fervor.  The  scattering  of  rice  on 
the  water,  the  exchange  of  lotus  flowers,  the  libations  of 
honey,  the  tossing  of  silver  rings  into  the  river  for  the 
beggars  to  scramble  after,  all  had  its  deep  significance. 
Each  became  a propitiatory  offering  or  a thanksgiving. 
Then,  the  chanting  of  the  white-robed  priests,  as  they  led 
down  to  the  water’s  edge  a beautiful  girl  decked  in  jewels 
and  flowers,  “Bride  of  the  Nile,”  had  indeed  a deep  sig- 
nificance. For  regardless  of  cries  and  protestations  the 
fair  victim  was  hurled  into  the  great  arms  of  Nilus,  and 
swept  out  to  sea,  amid  the  louder  chanting  of  the  priests, 
joined  by  the  people;  the  shouts  and  dancing  redoubled; 
the  deep  booming  of  many  drums,  and  wild  clangor  of 
cymbals.  JVow^  the  “Bride  of  the  Nile,”  a waxen  image  on 
a floating  barge,  is  no  more  dead  than  the  whole  lifiSess 
ceremony,  in  contrast  to  the  vivid  past. 

We  think  of  those  old  Egyptians  having  the  calm  non- 
interest in  life  of  their  own  mummies.  But  when  we  find 
they  laughed  and  joked,  were  full  of  life  and  animation,  we 
begin  to  understand  that  it  is  not  human  nature  that  has 
changed,  merely  altered  by  environment.  A drawing  on  a 
tile  in  a New  York  museum  represents  a cat  dressed  as  an 
Egyptian  lady  of  fashion  seated  elegantly  in  a chair,  sip- 
‘'ping  wine  from  a small  bowl,  being  fanned  and  offered 
dainties  by  a second  dejected-looking  cat,  presumably  one 
of  her  ladyship’s  well-disciplined  slaves.  In  a papyrus,  in 
the  British  Museum,  a flock  of  geese  are  being  driven  by  a 
cat,  and  a herd  of  goats  by  two  wolves,  with  crooks  and 
wallet;  one  of  the  wolves  playing  a flute.  The  oldest 
papyrus  in  the  world,  now  in  the  National  Library  in 


A DINNER  IN  OLD  EGYPT. 


5 


Paris — written  3,350  years  J3.  C. — contains  a number  of 
maxims  that  might  have  been  written  for  our  century.  So 
it  is  evident  these  strange  builders  of  pyramids,  these 
worshipers  of  Isis,  had  thoughts  and  feelings  pretty  much 
the  same  as  animate  human  life  to-day. 

The  subject  of  our  entertainment  is  the  feast  or  dinner 


Gold  Cups  and  Vase  of  Ancient  Egypt,  I.otus  Flower  and  Animal  Designs. 


that  followed  immediately  af^er  the  festival  of  the  Nile, 
being  the  usual  close  of  that  festivity. 

The  people  sat  at  meals^  did  not  recline  as  in  the  after  time, 
when  Greek  voluptuousness  introduced  the  soft,  sinuous 
motions  and  languid  grace  that  so  corrupted  the  bold,  sturdy 
manners  of  the  race.  The  feast  was  observed  in  every  house- 
hold where  host  and  hostess  could  gather  together  a number 
of  friends.  These  dinners  were  matters  of  great  state  and 
ceremony,  the  place  of  highest  honor  being  given  to  the 


6 


A DINNER  IN  OLD  EGYPT. 


givers  of  the  feast;  others  at  their  right  and  left  according 
to  rank.  Each  guest  was  received  at  the  hospitable  portal, 
by  a slave  of  the  household,  who  removed  his  sandals  and 
bathed  his  feet  in  a silver  basin.  He  was  then  ready  to 
greet  his  entertainers  with  the  customary  profound  bow 
made  by  placing  his  two  hands  on  his  knees  and  bending 
gravely  forward.  Bowing  in  return,  the  host  struck  on  a 
small  metal  plate,  for  a slave  to  bring  the  accustomed  sweet- 
scented  ointment,  with  which  he  anointed  the  head  of  the 
now  seated  guest.  A lotus  blossom  was  presented  to  him,  and 
wine.  As  the  servant  received  back  the  emptied  vase  he 
murmured  in  a subdued  voice,  “May  it  benefit  you.” 
Flowers  played  a conspicuous  part  at  the  dinner;  the  guests 
were  decked  with  wreaths  and  garlands  as  a compliment, 
fresh  flowers  replacing  those  which  were  withered,  at  inter- 
vals. A very  important  feature  was,  also,  the  presentation 
of  . the  Osiris,  a small  gilded  mummy  which  was  borne 
around  the  room  during  the  repast,  by  a slave,  who  said  in 
solemn  cadence, “ upon  this^  drink^  and  enjoy  thyself;  such 
shalt  thovt  he  when  thou  art  720  7710 re  alive d'  This  episode  was 
supposed  to  heighten  the  enjoyment  of  the  feasters!  The 
song  to  Maneros,  with  which  the  feast  closed,  was  considered 
an  essential  element  in  “An  Old  Egyptian  Dinner.” 


THE  STAGE. 

A good  effect  can  be  produced  by  the  use  of  common 
material,  if  that  of  a finer  grade  is  not  practicable.  Harmony 
in  color  and  design  is  necessary,  while  any  approach  to 
modern  decoration  is  to  be  avoided.  Short  pillars  or  columns 
can  be  represented  by  placing  in  upright  position — near 
side  wall — six  of  the  unglazed  drainage  tiles  (three  or  four 
feet  in  height).  On  the  first  pair,  place  an  antique  shaped 
dish  or  ornament,  to  simulate  the  incense  bowls.  On  the  re- 


A DINNER  IN  OLD  EGYPT. 


7 


maining  columns  set  tall  potted  ferns  or  palms,  if  not  real, 
artificial  plants  can  be  used.  Failing  this,  large  branching 
feathers  of  dark  color  could  be  used,  though  this  is  not 
recommended.  Sketch  queer-shaped  geometric  figures  or 
lettering  on  the  tiles  in  charcoal,  or  simply  draw  several 
black  lines  at  top  and  base.  At  the  rear  of  stage  stretch  a 
large  sheet  (or  several  sewed  together),  of  canvas  or  un- 
bleached muslin.  An  amateur  artist  can  do  the  work 
required.  Use  the  common  crayon,  sold  in  the  shops  for  a 
penny  a stick,  choosing  dull  red,  yellow,  gray,  black  and 
enamel  blue  for  colors.  Sketch  in  bold  outline  any  familiar 
Egyptian  scene  or  figures  (found  in  profusion  nowadays). 
Fill  in  the  spaces  with  a heavy  coating  of  another  color. 
Use  a soft  dry  sponge,  as  a blender,  until  the  sketch  is  quite 
shadowy,  taking  care  that  it  is  not  entirely  erased.  Large 
subjects  will  prove  most  acceptable,  as  the  “wall  painting” 
is  to  be  in  the  back  of  stage.  This  work,  however  rude, 
is  pleasing,  and  well  worth  the  effort.  If,  however,  the 
drawing  is  found  difficult,  curious  geometric  figures  and 
hieroglyphics  can  be  cut  from  wall  paper,  following  the 
shades  suggested,  and  pasted  on  the  canvas.  In  this  case 
care  must  be  taken  that  the  effect  is  not  glaring.  If  further 
decoration  is  desired,  a striped  awning  can  be  hung  over 
the  center  of  stage  (above  the  central  group).  From  each 
scollop  and  between,  hang  one  of  the  colored  glass  balls 
used  as  ornaments  on  Christmas  trees,  with  a bright  light 
behind  them;  this  gives  a hint  of  “ the  thousand  lamps”  of 
which  we  hear.  This,  however,  may  be  omitted. 

A table  stands  on  each  side  of  stage,  near  back.  At  right, 
the  one  holding  the  “ porous  water-jars”  (large  two-handled 
jars  of  curious  shape,  or  plain  large-sized  jugs  in  unglazed 
pottery).  On  table  at  left,  the  wreaths  and  garlands,  the 
vases,  “ amphora,”  used  for  wine  and  ointment.  Select 
slender,  long-necked  vases  of  antique  appearance.  Near 


8 


A DINNER  IN  OLD  EGYPT. 


front,  on  either  side,  a low  stool,  foot  basin  and  embroi- 
dered towel.  As  foot  basin,  choose  a shallow  vessel  or  dish, 
which  may  be  gilded  or  silvered  with  bronze  paints.  A 
little  back  of  center,  is  the  large  “double  chair”  for  host 
and  hostess,  covered  with  the  leopard  skin.  The  chair  can 
be  made  by  placing  the  fronts  of  two  modern  low-backed 
chairs  together.  “The  leopard  skin any  spotted  skin  or 
robe  will  answer  the  purpose.  If  nothing  else  is  convenient 
press  into  service  one  or  two  fur-lined  circulars,  throwing 
them  over  chairs,  fur  side  out.  Low  seats  for  guests  will 
be  necessary,  three  on  each  side,  according  to  plan  given. 
Three  small,  low  tables  are  needed.  The  low  “afternoon- 
tea”  tables  can  be  used  quite  prettily  without  further  deco- 
ration. If  however,  the  “child’s  tables”  are  used,  it  will  be 
necessary  to  draw  a width  of  silk  or  tapestry  over  the  top, 
fastening  it  firmly  beneath.  The  legs  may  be  wrapped  in 
ribbon  of  the  same  shade,  or  gilt  paper  in  horizontal  bands. 
Choose  odd  shapes  for  the  finger-bowls;  towels  without 
fringe,  may  be  of  soft  silk  or  embroidered  linen.  The  table 
furniture  of  silver,  glass,  or  dainty  porcelain,  should  be 
selected,  of  antique  pattern. 

COSTUMES. 

A general  description  of  the  costume  to  be  worn  may  be 
an  aid  to  their  preparation.  (See  various  cuts  in  this  book.) 
The  “tunic”  a close  fitting  robe  (in  shape  something  like  an 
“ alb”)  is  a garment  of  universal  wear.  Rounded  at  the  neck, 
with  or  without  sleeves  it*  falls  in  narrow  form  to  the  ankles. 
Over  this  the  higher  class  wear  the  “calisiris”  a voluminous 
garment,  usually  of  some  transparent  stuff,  with  wide  loose 
sleeves  which  may  be  short  or  fall  to  the  elbow.  The  gar- 
ment (which  may  be  simulated  by  adding  many  pleats, 
“surplice  fashion,”  to  the  shoulders  of  a loose  sacque)  must 
form  graceful  folds,  both  above  and  below  the  girdle.  If 


A DINNER  IN  OLD  EGYPT. 


9 


made  of  straight  widths  the  under-arm  seams  may  be  left 
open,  in  this  way  disclosing  the  embroidered  skirt  of  the 
tunic.  Both  sexes  unite  in  wearing  jewels  and  ornaments 
of  all  kinds.  Large  necklaces,  which  sometimes  reach  to 
the  shoulders  or  fall  almost  to  the  girdle  (which  also  is  of 
gems  or  gold).  Armlets,  bracelets  for  wrists,  and  ankles, 
rings  and  head  bands.  Much  liberty  can  be  used  in  the 
choice  of  these  jewels  (?)  as  we  find  mentioned  not  only 


precious  stones,  but  gold  and 
' silver  beads,  glass,  enamel  brass 
and  ivory  ornaments.  A favorite 
design  being  amulets  hung  in 
abundance  from  chains,  etc.,  of 
beetles,  dragons,  asps,  and  strange 
symbolic  eyes.  Would  suggest 
in  lieu  of  other  decorations  that 
the  crystal  pendants  in  common 
use  strung  with  other  ornaments 
used  in  “ decorative  art,  fancy 
work”  can  be  made  into  quite 
effective  necklaces,  in  this  way, 
using  other  and  more  genuine 
pieces  of  jewelry  for  bracelets, 
etc. 


Egyptian  Ladies. 


The  eyebrows  and  lashes  are  darkened  with ‘‘ antimony” 
(or  something  more  modern)  to  increase  the  size  of  the  eye, 
rendering  it  further  prominent  by  drawing  a dark  streak 
from  the  eye  to  the  temple,  and  in  some  cases,  one  to  con- 
nect the  eyebrows.  The  nails  are  stained  with  “ hennah,” 
and  orange  colored  dye.  Cheeks  and  lips  tinted  with  rouge. 

The  heads  of  the  men  are  supposed  to  be  shaved,  leaving  a 
crown  piece  of  glossy  curls.  (A  skull  cap  color  of  com- 
plexion, with  wig  of  “ top  curls”  sewed  in  place).  A few 
long  curls  sometimes  fall  at  back  of  head. 


to 


A DINNER  IN  OLD  EGYPJ. 


The  head-dress  for  women  is  more  becoming.  After  the 
hair  is  plaited  in  many  small  braids,  one  on  each  side  is 
allowed  to  fall  over  the  front  of  shoulders,  these  having 
strands  of  gold  or  jewels  braided  with  the  hair.  Drawn 
closely  over  the  head  is  a handkerchief,  which  is  pinned  at 
the  back,  allowing  folds  to  fall  over  it. 

This  should  be  of  a rich  brocade  or  striped  material. 

While  there  is  doubt  cast  on  the  subject  of  silk  being 
used  at  this  time  it  seems  advisable  in  this  case,  to  use  the 
pretty  soft  silken  handkerchiefs, 
if  nothing  better  is  suggested. 

A gi  eater  degree  of  rank  can  be 
shown  by  wearing  a jeweled  band 
or  ^old)  bound  about  the  brow, 
and  fastened  beneath  the  kerchief 
at  back  of  head.  Depending 
from  this,  and  in  front  of  the 
ears,  hangs  an  ornament  of  jewels 
or  gold  disks  strung  together. 

The  Hostess.  A robe  (“  tunic”) 
of  cream  white  elaborately  em- 
broidered in  gold.  Overdress  (“  calisiris”)  of  diaphanous 
cream-white.  Headdress  white  v/ith  gold  stripes,  gold 
tinsel  sewed  on  fabric.  A profusion  of  jewels,  neck- 
lace, etc. 

First  Lady.  Blue  and  silver.  Pearl-gray  overdress. 
Ornaments.  Blue  and  white  headdress. 

Second  Lady.  Orange-colored  robe.  This  is  usually  of 
a richly  striped  material.  Authorities  differ  in  admitting 
that  silk  was  used,  yet  if  the  color  desired  cannot  be  obtained, 
use  something  resembling  it.  “Calisiris”  of  thin  white, 
dotted  with  black  and  white  stripes.  Jewels. 

Third  Woman  Guest.  Brick-red  robe  embossed,  with 
silver  and  “ fire-gilt”  paint  or  passementerie.  Transparent 


A Royal  Couple,  Temple  Service. 


A DINNER  IN  OLD  EGYPT'. 


r T 

white  overdress,  with  girdle  of  silver.  Brocade  handkerchief 
on  head,  of  “terra-cotta.”  Silver  and  gold  ornaments. 

Host.  Tunic  of  purple.  “Calisiris”  (some  shorter  than 
those  worn  by  the  women,  and  less  full),  of  a lighter  shade 
of  purple.  Huge  necklace,  armlets,  rings,  etc.,  of  glittering 
ornaments. 

First  Male  Guest.  Wine  colored  tunic  covered  with 
gold  embroidery  (figures  cut  from  gilt  paper  pasted  on). 
Upper  garment  of  same  color.  Necklace  and  other  jewels. 

Second  Male  Guest.  Tunic  of  drab,  with  narrow 
stripes  of  alternate  blue  and  green.  Blue  calisiris.  Orna- 
ment. f 

Third  Male  Guest.  Tunic  of  broad  black  and  white 
stripes.  Clear  white  upper  garment.  Ornamental  neck- 
lace, bracelet,  etc. 

Singer.  White  linen  robe.  Wreath  of  flowers.  Harp. 

Musicians.  White  linen  robes  falling  in  folds  from 
throat  to  foot.  Shaved  heads  (skull  cap  or  wig  of  flesh  tint 
whether  that  be  natural  or  darkened  to  suit  character). 

Slaves.  In  place  of  the  double  garment,  the  slaves  wear 
a tunic  of  unbleached  linen,  which  is  made  loose  enough  to 
fall  in  folds  when  gathered  into  the  girdle.  With  or  with- 
out sleeves.  A sash  or  girdle  of  bright  striped  fabric  (in 
common  goods  such  as  percale  or  calico).  The  girls  have 
close  caps  of  this  same  material,  with  three  ribbons  or 
narro7u  streamers,  hanging  from  it  at  back.  The  boys 
should  wear  skull  caps  drawn  closely  over  heads,  to  simulate 
shaven  heads.  All  wear  bands  of  gold  (paper  or  tinsel) 
about  arm,  and  wrist  and  ankle. 

'Fhe  monkey  can  be  clothed  in  white  linen  with  fancy  cap. 

THE  DINNER. 

Egyptian  noble  and  wife  receive  their  guests  seated  on 
double  chair.  They  hold  lotus  blossoms  in  their  hands. 


U.  OF  ILL  UB. 


12 


A DINNER  IN  OLD  EGYPT. 


The  host  holds  also  a six  inch  plate  of  metal,  on  which  he 
raps  with  his  knuckles  when  he  wishes  to  call  a servant.  The 
hostess  caresses  a large  cat,  which  is  tied  by  a silken  cord 
to  her  left  armlet,  sometimes  lifting  it  to  her  lap,  but 
usually  stooping  to  stroke  its  fur  as  it  lies  near  her.  A 
slave  (No.^i)  waves  a long-handled  fan  of  ostrich  feathers, 
standing  just  back  of  them,  and  moving  slowly  from  side  to 
side.  The  seats  at  right  and  left,  nearest  to  them,  are 
vacant.  The  remaining  seats  are  occupied  by  the  four 
guests  who  have  already  arrived.  As  curtain  rises  a slave 
(No.  2)  stands  near  table  at  left,  on  which  are  garlands,  etc. 
At  right  slave  (3)  fans  the  porous  water  jars  to  cool  them. 
Slaves  (4  and  5)  stand  near  entrance,  with  folded  arms  and 
solemn  mien.  The  guests  admire  the  flowers  which  have 
been  given  them,  and  seem  to  admire  each  other's  jewels,  in 
sedate  and  decorous  fashion.  In  a brief  time  the  last  male 
guest — an  Egyptian  grandee — arrives.  Slave  at  entrance 
(right)  with  low  bow,  proffers  low  seat.  Guest  sits  down 
with  dignity,  placing  his  staff  upon  the  floor  beside  him. 
Slave  brings  basin,  kneels,  removes  the  sandals  of  guest, 
and  proceeds  in  slow  and  ceremonious  fashion  to  go  through 
the  act  of  foot  washing.  He  may  kneel  in  such  a manner 
that  all  of  his  movements  may  not  be  witnessed  by  audience. 
(In  this  way  the  awkwardness  can  be  avoided  of  showing 
that  it  is  but  a pretence).  The  guest  after  this  rises  and 
advances  toward  his  entertainers.  He  bows,  they  bow  in 
return,  with  smiles  invite  him  to  take  the  vacant  seat  near 
hostess.  The  slave  brings  vase  of  ointment,  stands  back 
of  guest.  Is  supposed  to  pour  a small  quantity  with  great 
solemnity  upon  his  head.  Next  slave  brings  silver  tray 
with  wine,  etc.  Guest  receives  the  small  glass  offered,  lifts 
it  to  his  lips,  looking  at  hostess  and  host.  As  he  replaces 
the  wine-glass  on  tray  slave  bows  low,  as  if  to  say,  “ May  it 
benefit  you.'’  The  slave  offers  the  rose-colored  bowl  of 


A DINNER  IN  OLD  EGYPT. 


13 


water.  Guest  dips  the  tips  of  his  fingers  in  bowl,  dries 
them  upon  embroidered  napkin.  Slave  returns  with  bowl  of 
lotus  blossoms,  the  hostess  reaches  forward,  selects  one  and 
presents  it  to  the  guest.  He  receives  it  as  if  complimented. 
Enter  last  remaining  visitor,  a lady  of  rank  {goes  to  left?)  She 
is  followed  by  a small  girl  slave,  who  holds  a monkey  in 
her  arms.  The  “ grandee  dame”  accepts  the  attention  of 
girl  slave  at  entrance,  with  languid  grace.  After  the  foot 
washing  she  advances  slowly  toward  her  entertainers,  fol- 
lowed by  small  ^slave  with  monkey.  They  bow  greetings  as 
do  all  the  rest,  she  accepts  them,  as  she  does  the  seat  of 


Egyptian  Prisoners— Illustrating  Dress  of  Lower  Classes. 


honor  near  host,  as  if  it  is  her  due.  The  slaves  as  before 
bring  perfume,  wine  and  the  lotus  blossoms.  The  host 
selects  a lotus  flower,  and  presents  it  to  her.  Small  slave 
ties  the  monkey’s  chain  to  her  mistress’  wrist  and  crouches 
down  on  the  floor  near  her,  rising  occasionally  to  replace  a 
flower  that  is  fallen,  or  rearrange  some  article  of  dress. 
The  host  now  strikes  on  a plate  of  metal.  The  slaves  bring 
in  small  tables.  One  is  placed  before  host  and  hostess  who 
are  joined  by  the  last  two  visitors.  The  slaves  move  their 
chairs  to  places  at  the  sides  of  the  table,  thus  leaving  the 
front  free  that  ft  may  be  seen  the  more  readily  by  audience. 
A table  is  placed  before  the  two  at  right,  also  one  before 
two  at  left.  On^each  table  are  set  various  pieces  of  silver 


14 


A DINNER  IN  OLD  EGYPT. 


and  glass,  tall  flagons  (?)  for  wine  and  the  bowl  of  water, 
with  napkins  or  embroidered  towel  The  guests  help  them- 
selves daintily  with  their  fingers  afterward  washing  them  in 
finger  bowls.  All  is  conducted  with  ceremony.  The  move- 
ment of  slaves  is  deferential  in  the  extreme,  a bow  precedes 
the  proffer  of  every  dish.  As  soon  as  the  tables  are  placed, 
the  musicians  (who  have  apparently  been  playing  outside  the 
room)  enter  two  on  each  side,  march  with  dignity  to  places 
near  front  of  stage,  the  ha^fi  and  sistrum  at  right  hand,  the 
fiute  and  double  pipes  at  left.  They  play  throughout  the  re- 


Mummy  in  Case. 


mainder  of  the  dinner  in  loud  or  soft  tones  to  accord  with 
the  action  given.  Slaves  now  bring  the  wreaths  and  gar- 
lands from  side  table,  and  place  them  on  the  heads  and 
about  the  necks  of  guests,  moving  in  time  to  slow  music. 

When  the  feast  is  at  its  height  the  host  strikes  his  metal 
plate.  A slave  enters,  bearing  high  before  him,  the  small 
golden  image  of  a mummy.  He  pauses  in  front  of  each 
guest,  long  enough  to  (seem  to  murmur)  Look  upon  this^ 
drink  and  enjoy  thyself;  such  shall  thou  he  when  thou  art  no  more 
alive r The  persons  addressed  in  turn,  bow  an  acknowledg- 
ment. The  host  rises,  lifts  wine-glass  high  in  one  hand. 


A DINNER  IN  OLD  EGYPT. 


15 


The  guests  arise  at  this  signal,  and  drink  to  the  sentiment 
expressed. 

Slave  with  mummy  then  retires.  As  a final  feature  of 
the  feast,  enter  a '^singer'"  robed  in  white  with  a wreath  on 
the  head.  Advancing  to  the  center  of  the  stage,  the  “ singer” 
strikes  an  occasional  chord  upon  the  harp,  and  chants  or 
recites  the  “Song  to  Maneros. ” (This  may  be  as  a solo  or 
one  line  as  a solo,  allowing  all  of  the  rest  to  join  in  the 
remainder  of  each  verse). 

SONG  TO  MANEROS. 

As  the  vine  is  glory  of  the  trees, 

As  grapes  are  of  the  vine, 

As  standing  corn  of  fertile  fields, 

So  thou,  Maneros,  wast  glory  of  thy  fellow  man! 

For  joy  the  unshorn  mountains  raise  their  voices  to  the  stars, 

For  joy  the  rocks,  the  very  groves,  resound  these  notes: 

A god,  a god,  is  Maneros  ! 

O be  indulgent  and  propitious  to  thy  6wn! 

« Behold  four  altars: 

Lo!  Isis,  one  for  thee,  and  two  for  thee,  Maneros. 

While  the  boar  shall  love  the  tops  of  mountains, 

While  fishes  love  the  floods, 

While  bees  on  thyme  shall  feed,  and  grasshoppers  on  dew, 

Thy  honor,  name  and  praise  shall  yet  remain! 


xNOTES. 

If  it  is  desired  to  prolong  the  entertainment  good  material  may  be 
found  in  variety  that  would  prove  enlivening  if  rendered  by  a good  reader. 
Certainly  there  is  crisp  information  in  the  writings  of  Miss  Edwards,  con- 
cerning the  cats  of  Bubastis.  Mrs.  Susan  E.  Wallace  tells  in  dreamy,  poetic 
fiction  the  story  of  “ Rhodopis,”  the  Egyptian  Cinderella.  Extracts  from 
Wilkinson’s  “Manners  and  Customs,”  or  any  of  George  Ebers’  copious 
studies  of  Egyptian  life  would  be  found  interesting;  while  a capsheaf  could 
be  added  by  reading  Mark  Twain’s  experience  in  climbing  the  pyramids. 


i6 


A DINNER  IN  OLD  EGYPT. 


A “sistrum”  is  a rattling  metal  instrument,  curved  on  top  in  horseshoe 
fashion,  with  wires  strung  loosely  across  its  surface;  it  has  a long  handle, 
not  unlike  a tennis  racquet. 

The  “ double-pipes  ” can  be  imitated  by  taking  two  slender  pipes  of 
tin,  united  at  the  top,  for  a mouthpiece. 

The  musicians  on  the  stage  appear  to  play  on  their  strange  instruments, 
while  in  reality  the  music  should  be  furnished  by  an  orchestra  in  front  or  off 
the  stage.  (Stringed  instruments,  such  as  mandolins  or  harps,  to  be  pre- 
ferred, with  flute  accompaniment.)  It  is  also  suggested  that  no  water,  wine 
or  food  be  actually  placed  before  guests,  as  the  presentation  is  but  a 
“ tableau  vivant”  of  the  past.  In  this  way  also  the  risk  of  spilling  and 
other  accidents  liable  on  the  amateur  stage  can  be  avoided.  Directions  for 
making  cat  and  monkey  may  be  found  in  almost  any  fashion  jonrnal  of 
patterns,  viz:  Butterick’s,  Demorest’s,  etc.  A long  staff  carried  in  the  hand 
denotes  the  high  rank  of  the  bearer.  A bow  is  made  by  placing  the  hands 
upon  the  knees,  and  bending  far  forward. 


Three  Forms  of  Osiris. 


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